Thad wrote:Really there's a very long list of studio execs who I would find it very easy to believe would say that.
That's what it's boils down to, really. Any of them could have said it and it almost doesn't matter who exactly.
Thad wrote:Really there's a very long list of studio execs who I would find it very easy to believe would say that.
Thad wrote:SAG Files Unfair Labor Practice Against Universal After It Trimmed Trees on Picket Line Without a Permit
I'd say this is inept supervillain shit, but it's way too petty. This is like...something Doctor Doom might do but then a later writer would retcon it and say it was Doombot.
Upthorn wrote:Thad wrote:SAG Files Unfair Labor Practice Against Universal After It Trimmed Trees on Picket Line Without a Permit
I'd say this is inept supervillain shit, but it's way too petty. This is like...something Doctor Doom might do but then a later writer would retcon it and say it was Doombot.
Relatedly, according to these two tweets,
Universal Studios might be in the shit with the City of Los Angeles due to Tree Law.
Friday wrote:
DEAR MEMBERS,
After 102 days of being on strike and of AMPTP silence, the companies began to bargain with us on August 11th, presenting us for the first time with a counteroffer.
We responded to their counter at the beginning of last week and engaged in further discussions throughout the week.
On Monday of this week, we received an invitation to meet with Bob Iger, Donna Langley, Ted Sarandos, David Zaslav, and Carol Lombardini. It was accompanied by a message that it was past time to end this strike and that the companies were finally ready to bargain a deal.
We accepted that invitation and, in good faith, met tonight, in hopes that the companies were serious about getting the industry back to work.
Instead, on the 113th day of the strike – and while SAG-AFTRA is walking the picket lines by our side – we were met with a lecture about how good their single and only counteroffer was.
We explained all the ways in which their counter’s limitations and loopholes and omissions failed to sufficiently protect writers from the existential threats that caused us to strike in the first place. We told them that a strike has a price, and that price is an answer to all – and not just some – of the problems they have created in the business.
But this wasn’t a meeting to make a deal. This was a meeting to get us to cave, which is why, not 20 minutes after we left the meeting, the AMPTP released its summary of their proposals.
This was the companies’ plan from the beginning – not to bargain, but to jam us. It is their only strategy – to bet that we will turn on each other.
Tomorrow we will send a more detailed description of the state of the negotiations. And we will see you all out on the picket lines so that the companies continue to see what labor power looks like.
Prior to that, the firm worked on behalf of the now imprisoned Elizabeth Holmes as her medical tech firm Theranos was revealed to be a scam.
In a sign of Hollywood’s escalating internal tensions, a prominent Directors Guild of America member openly advocated against the election of 10 writer-directors to the guild’s board earlier this month on the grounds that they were “primarily writers” and hailed from “fringe groups.”
In a leaked email that has been shared widely in the creative community, Linda Montanti, chair of the guild’s Western AD/UPM Council, urged a bloc of DGA voters to not support the board candidacies of a number of multihyphenates who are members of both the DGA and WGA — some of whom have been outspoken about strike issues. The list includes writer-producer Boots Riley, Oscar-winning “CODA” writer-director Sian Heder, actor-filmmaker Justine Bateman, actor-writer Paul Scheer and “Chernobyl” creator Craig Mazin. The unorthodox move prompted DGA president Lesli Linka Glatter to contact the members affected to assure them that Montanti’s move was not condoned by top DGA leaders.
You know what would be the best PR right now? Ending the strikes.
Because it isn’t the guilds that are divided at this point, it’s the studios; on Wednesday, many of their heads met in an attempt to sort out what has been characterized as increasingly frantic infighting.
How many times does Hollywood have to tell this story, in fiction and non-, before the people who run the entertainment industry understand it? Do they even watch anything they make?
Users browsing this forum: No registered users and 8 guests